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The framework of pointlessness is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from 1982, a movie that was groundbreaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares almost awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of analogue reality. This is a bit of firm parenting you might want to administering to every producer engaged in this movie, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of Tron: Ares

The scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a rival to the virtual reality firm Encom, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The issue is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence algorithm” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of robots, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the title – is acted by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, touches that were perhaps designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life series will ever find it in their hearts to be totally rude about Mr Leto, and I was incidentally quite amused by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly awful in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is meant to be charming when Ares the character says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of classic video games (or indeed dance clubs); one even emits a death ray which cuts a police vehicle in two. But there is no drama or danger or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.